One of today’s most sought-after lyric baritones on the international stage, Canadian-Italian Brett Polegato has earned the highest praise from audiences and critics for his artistic sensibility: "his is a serious and seductive voice" says the Globe and Mail, while the New York Times has praised him for his "burnished, well-focused voice", which he uses with "considerable intelligence and nuance". Since finishing first among the men at the 1995 Cardiff Singer of the World competition, his career has encompassed over fifty operatic roles at the world’s most prestigious venues including La Scala, l’Opéra National de Paris, the Glyndebourne Festival, the Lyric Opera of Chicago, Houston Grand Opera, the Teatro Real, the Concertgebouw Amsterdam and the Carnegie Hall. He has made a name for himself in numerous dramatic roles, most notably the title roles of Eugene Onegin and Don Giovanni, Il Conte Almaviva Le nozze di Figaro and Pelléas Pelléas et Mélisande.

Amfortas, Parsifal

Brett Polegato had a great success in his role debut as Amfortas. The remorse and anguish of the king could be heard in his plangent voice and seen in his pained expression.

Arthur Kaptainis, Classical Voice America

Brahms' German Requiem

Calgary Philharmonic Orchestra, February 2017

Polegato, a superior singer in both opera and in concert, gave another of his finely crafted, musically sensitive performances, his voice by type and delivery just what is needed for this music. Both of the movements in which he sang were made special by his outstanding musicianship and by the sheer beauty of his voice.

Calgary Herald

Title role in Tchaikovsky's Eugene Onegin

Grange Park Opera, September 2015

Brett Polegato’s Onegin, ever-resonant in a world-wearing manner, unfailingly musical in his phrasing and breath control, with excellent diction, chilling insouciance in the rejection scene, thrilling high notes and a touch of genuine despair in the final moments.

Opera Magazine

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Polegato, a superior singer in both opera and in concert, gave another of his finely crafted, musically sensitive performances, his voice by type and delivery just what is needed for this music. Both of the movements in which he sang were made special by his outstanding musicianship and by the sheer beauty of his voice.

Brett Polegato’s Onegin, ever-resonant in a world-wearing manner, unfailingly musical in his phrasing and breath control, with excellent diction, chilling insouciance in the rejection scene, thrilling high notes and a touch of genuine despair in the final moments.